exploiting techniques in asante indigenous hand embroidery for adinkra cloth production
TRANSCRIPT
EXPLOITING TECHNIQUES IN ASANTE INDIGENOUS HAND
EMBROIDERY FOR ADINKRA CLOTH PRODUCTION
By
Isaac Kofi AwuyahB.A (Textiles), MFA (Textile Design)
STATEMENT OF THE PROBLEM
Indigenous hand embroidery (Nwomu) has not been given enough recognition.
Less attention is given to the stitching techniques available.
The designs concepts have also not been fully exploited.
EXPLOITING TECHNIQUES IN ASANTE INDIGENOUS HAND EMBROIDERY FOR ADINKRA CLOTH PRODUCTION
OBJECTIVES
To identify, describe and discuss existing indigenous stitching techniques used in Adinkra cloth production.
To develop new design concepts incorporating alphabets, images and geometric shapes.
To produce a number of samples and an Adinkra cloth using the design concepts developed.
EXPLOITING TECHNIQUES IN ASANTE INDIGENOUS HAND EMBROIDERY FOR ADINKRA CLOTH PRODUCTION
DELIMITATION
The study is limited to the use of cotton, rayon and polyester yarns. The main fabric type used is cotton in hand woven strips, drill fabric and lace.
The research is conducted on selected users, producers and sellers of Adinkra cloth in Kwabre East District and Kumasi Metropolis.
EXPLOITING TECHNIQUES IN ASANTE INDIGENOUS HAND EMBROIDERY FOR ADINKRA CLOTH PRODUCTION
IMPORTANCE OF THE STUDY
The study is intended to promote and project indigenous hand embroidery among Asante people and in Ghana as a whole.
The introduction of new design concepts in the form of symbols, alphabets and images into the original nwomu designs will help promote and appreciate the art more.
EXPLOITING TECHNIQUES IN ASANTE INDIGENOUS HAND EMBROIDERY FOR ADINKRA CLOTH PRODUCTION
REVIEW OF RELATED LITERATURE
Concepts on Textiles, Yarn and Design.
History and development of Embroidery.
Brief history of Asante people.
History and production of Adinkra cloth.
Indigenous hand embroidery (nwomu) among Asante
people.
EXPLOITING TECHNIQUES IN ASANTE INDIGENOUS HAND EMBROIDERY FOR ADINKRA CLOTH PRODUCTION
The following topics were reviewed:
METHODOLOGY
Research Design
The study employed:
Descriptive research method and
Experimental research method
EXPLOITING TECHNIQUES IN ASANTE INDIGENOUS HAND EMBROIDERY FOR ADINKRA CLOTH PRODUCTION
POPULATION FOR THE STUDY
Producers, sellers and users of Adinkra cloth in
Ashanti Region is the Target population.
Accessible population is selected producers, sellers
and users of Adinkra cloth in the Kwabre East District
and the Kumasi Metropolis.
EXPLOITING TECHNIQUES IN ASANTE INDIGENOUS HAND EMBROIDERY FOR ADINKRA CLOTH PRODUCTION
DATA COLLECTION INSTRUMENTS
The study employed:
Interview – Informal interview
To ascertain the level of awareness and general
knowledge on the production of Nwomu and Adinkra
cloths.
Observation – Participant observation
The following were observed: The type of fabric(s) used The type of yarn (including colour arrangements) The stitching style or technique employed Tools and other materials used The name and meanings of designs used The type of finishing process applied etc.
EXPLOITING TECHNIQUES IN ASANTE INDIGENOUS HAND EMBROIDERY FOR ADINKRA CLOTH PRODUCTION
SAMPLINGPurposive sampling was used to collect primary data for the study.
Num. Category Total Number
1. Sectional Heads – C.N.C, Kumasi. 3
2. Organisational Heads – Adinkra cloth producers Association: Ntonsu and Wonoo.
2
3. Supervisors – C.N.C, Asokwa, Ntonsu, Aboasu, Adanwomase.
5
4. Producers (5), Sellers (10), and Users (10) of Adinkra cloth in Kwabre East District and Kumasi Metropolis.
25
Total = 35
Table 3.1: Categories of interviewees
EXPLOITING TECHNIQUES IN ASANTE INDIGENOUS HAND EMBROIDERY FOR ADINKRA CLOTH PRODUCTION
PRESENTATION AND DISCUSSION OF FINDINGS
Objective one: To identify, describe and discuss existing indigenous stitching techniques used in Adinkra cloth production.
Identification and description of existing nwomu designs: Kukruboכ and Kawo
1. KukruboכThe most commonly used Kukruboכ designs known today are:1) Sikafutro2) Asanteman3) Kramo nwoma or Hausa ntwrכyε4) Aburo ne nkateε5) Tuntum ne fufuo
EXPLOITING TECHNIQUES IN ASANTE INDIGENOUS HAND EMBROIDERY FOR ADINKRA CLOTH PRODUCTION
PRESENTATION AND DISCUSSION OF FINDINGS (Cont’d.)
1) Sikafutro
EXPLOITING TECHNIQUES IN ASANTE INDIGENOUS HAND EMBROIDERY FOR ADINKRA CLOTH PRODUCTION
Plate 1: “Sikafutro” – Gold dust
Meaning and symbolism: Gold dust - Depicts affluence and royalty
Yarn colour arrangement: → Yellow/red/yellow/blue/yellow/green = 3x + yellow (of about 3ins wide)
Uses: During durbar of chiefs, akwasidae festival and other special occasions
PRESENTATION AND DISCUSSION OF FINDINGS (Cont’d.)
2) Asanteman
EXPLOITING TECHNIQUES IN ASANTE INDIGENOUS HAND EMBROIDERY FOR ADINKRA CLOTH PRODUCTION
Meaning and symbolism: Asante Kingdom - It portrays the dignity and values of the Asante people.
Colour arrangement: Yellow (or gold)/ black / and green
Uses: During durbar of chiefs and Asante festive occasions
Plate 2: “Asanteman”– Asante Kingdom
PRESENTATION AND DISCUSSION OF FINDINGS (Cont’d.)
3) Kramo nwoma or Hausa ntwrכyε
EXPLOITING TECHNIQUES IN ASANTE INDIGENOUS HAND EMBROIDERY FOR ADINKRA CLOTH PRODUCTION
Meaning and symbolism: Arabic writings (script) - The design portrays
and signifies mixed cultures in Asante communities.
Colour arrangement: → Yellow / red / repeated 6X, → Yellow / blue repeated 6X, → Yellow / green repeated 6X.
Uses: During thanksgiving services, funerals, and other festive occasions.
Plate 3: “Hausa ntwrכy ” – ε Arabic script
PRESENTATION AND DISCUSSION OF FINDINGS (Cont’d.)4) Aburo ne nkateε
EXPLOITING TECHNIQUES IN ASANTE INDIGENOUS HAND EMBROIDERY FOR ADINKRA CLOTH PRODUCTION
Meaning and symbolism: Maize and groundnut - Demonstrates the interposition of Asante traditional colours, and it values in every Asante community.
Colour arrangement: → yellow / black / yellow / red / yellow / blue / yellow / green, the black is sometimes ignored depending on the designer.
Uses: It can be used at every occasion.
Plate 4: “Aburo ne nkate ” - ε Maize and groundnut
PRESENTATION AND DISCUSSION OF FINDINGS (Cont’d.)5) Tuntum ne fufuo
EXPLOITING TECHNIQUES IN ASANTE INDIGENOUS HAND EMBROIDERY FOR ADINKRA CLOTH PRODUCTION
Meaning and symbolism: Black and white - It signifies the neutral position the Asantehene plays when judging a case.
Colour arrangement: → (Black/ White) 6x or 8x followed by 2” or 3” of (Black/ White)
Plate 5: “Tuntum ne Fufuo” - Black and White
Uses: For funerals, thanksgiving ceremonies as well as naming ceremonies.
PRESENTATION AND DISCUSSION OF FINDINGS (Cont’d.)
2. Kawo
EXPLOITING TECHNIQUES IN ASANTE INDIGENOUS HAND EMBROIDERY FOR ADINKRA CLOTH PRODUCTION
Plate 6: “Kawu” - legs of millipedes and centipedes
Symbolizes movement of legs of a centipede or millipede. The design is characterized by vertical cross stitch with extended irregular or serrated edges.
Colour arrangement: → Colour arrangement may vary depending on the designer.
Uses: It can be used at every occasion depending on colours used.
PRESENTATION AND DISCUSSION OF FINDINGS (Cont’d.)3. Ntatamu
EXPLOITING TECHNIQUES IN ASANTE INDIGENOUS HAND EMBROIDERY FOR ADINKRA CLOTH PRODUCTION
Plate 7: Ntatamu - To ‘fix in between or place in sections’
Ntatamu is a modern way of incorporating the nwomu technique in the
form of woven Kente strip into a cloth.
Uses: It can be used at every occasion depending on colours used.
PRESENTATION AND DISCUSSION OF FINDINGS (Cont’d.)
Plate 8: Designing
EXPLOITING TECHNIQUES IN ASANTE INDIGENOUS HAND EMBROIDERY FOR ADINKRA CLOTH PRODUCTION
Plate 9: Preparing the yarns Plate 10: Preparing the etiri
Plate 11: Cutting and folding the edges of the strips Plate 12: Fixing the etiri
Plate 13: Tying the etiri to the tensioning pole
Objective two: To develop new design concepts
Processes involved in Nwomu (Adinkra) cloth design:
PRESENTATION AND DISCUSSION OF FINDINGS (Cont’d.)
Plate14: Securing folds with needles
EXPLOITING TECHNIQUES IN ASANTE INDIGENOUS HAND EMBROIDERY FOR ADINKRA CLOTH PRODUCTION
Plate 17: Stitching the design Plate 18: Sewing the strips together
Plate 15: Threading the needle Plate 16 : Image of ‘Gyawu atikor’ drawn onto the strip
Plate 19: Printing
PRESENTATION AND DISCUSSION OF FINDINGS (Cont’d.)EXPLOITING TECHNIQUES IN ASANTE INDIGENOUS HAND EMBROIDERY FOR ADINKRA CLOTH PRODUCTION
Sketch
Plate 20: Sample one: ‘Crisscross’ or ‘ladder of death’
Application of colour
Objective three: To produce a number of samples and an Adinkra cloth using the design concepts developed.
Sample one
PRESENTATION AND DISCUSSION OF FINDINGS (Cont’d.)EXPLOITING TECHNIQUES IN ASANTE INDIGENOUS HAND EMBROIDERY FOR ADINKRA CLOTH PRODUCTION
Plate 21: Sample Two ‘denkyembuכ’
Application of colour
Sketch
Sample Two
PRESENTATION AND DISCUSSION OF FINDINGS (Cont’d.)EXPLOITING TECHNIQUES IN ASANTE INDIGENOUS HAND EMBROIDERY FOR ADINKRA CLOTH PRODUCTION
Plate 22: Sample Three ‘C. N. C.’
Sketch
Application of colour
Sample Three
PRESENTATION AND DISCUSSION OF FINDINGS (Cont’d.)EXPLOITING TECHNIQUES IN ASANTE INDIGENOUS HAND EMBROIDERY FOR ADINKRA CLOTH PRODUCTION
Application of colour
Sketch
Plate 23: Sample Four ‘edwene asa’
Sample Four
PRESENTATION AND DISCUSSION OF FINDINGS (Cont’d.)EXPLOITING TECHNIQUES IN ASANTE INDIGENOUS HAND EMBROIDERY FOR ADINKRA CLOTH PRODUCTION
Application of colour
Plate 24: Sample Five ‘adinkra symbols’
Sketch
Sample Five
PRESENTATION AND DISCUSSION OF FINDINGS (Cont’d.)EXPLOITING TECHNIQUES IN ASANTE INDIGENOUS HAND EMBROIDERY FOR ADINKRA CLOTH PRODUCTION
Sketch
Plate 25: Sample Six ‘nton’
Sample Six
PRESENTATION AND DISCUSSION OF FINDINGS (Cont’d.)EXPLOITING TECHNIQUES IN ASANTE INDIGENOUS HAND EMBROIDERY FOR ADINKRA CLOTH PRODUCTION
Application of colour
Preliminary sketch for the main cloth
Sketch for main cloth
PRESENTATION AND DISCUSSION OF FINDINGS (Cont’d.)EXPLOITING TECHNIQUES IN ASANTE INDIGENOUS HAND EMBROIDERY FOR ADINKRA CLOTH PRODUCTION
Plate 26: Main cloth – ‘Sikafutro Kwasiada Adinkra’Fabric size: 95” x 132”
The main cloth
MAIN FINDINGS The symbols and colours used in the production of Adinkra
cloths are representation of the cultural values of the Asante people and not fully abstracted objects.
The fabrics used in the production of nwomu designs may be locally produced or manufactured in the industry. Cotton, polyester, and rayon yarns can also be used in nwomu designs.
The use of interfacing in light weight fabrics provides additional strength and dimensional stability during stitching.
The nwomu or Adinkra cloth may also be used for other purposes such as wall hangings, decorating the dead and as a souvenir for tourists and visitors.
EXPLOITING TECHNIQUES IN ASANTE INDIGENOUS HAND EMBROIDERY FOR ADINKRA CLOTH PRODUCTION
CONCLUSION
The art of nwomu (indigenous hand embroidery) among the Asante people was practiced long before the emergence of the ‘Adinkra cloth’.
Indigenous cloths such as Birisi, Kobene, Kuntukuni, and Nwomu are all part of “Adinkra cloth collections”.
The Adinkra cloth ( with the nwomu) is sometimes called ‘the mobile gallery’.
EXPLOITING TECHNIQUES IN ASANTE INDIGENOUS HAND EMBROIDERY FOR ADINKRA CLOTH PRODUCTION
RECOMMENDATIONS
A study into indigenous cloths should be introduced as part of the course outline (curriculum) for vocational schools, colleges and tertiary institutions.
Workshops should be organised to educate the youth and the general public on the significance of indigenous cloths.
Printed nwomu designs by textile factories should be discouraged.
This thesis and other related materials should be compiled into a user - friendly - manual.
EXPLOITING TECHNIQUES IN ASANTE INDIGENOUS HAND EMBROIDERY FOR ADINKRA CLOTH PRODUCTION